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| 5.061 Ft
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| 1. | If I Were a Bell
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| 2. | Soul Eyes
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| 3. | Eronel
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| 4. | If... Then..
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| 5. | Star Eyes
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| 6. | Alone Together
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| 7. | Ana Luiza
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| 8. | 3 and 1
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| 9. | Ev'ry Time We Say Goodbye
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Jazz / Bop, Hard Bop
Bob Peck Executive Producer
Chuck Deardorf Bass
Dave Peck Audio Production, Producer, Piano
Dean Hodges Drums
Floyd Reitsman Assistant Engineer
Fred Wardenburg Executive Producer
Jane Peck Photography, Producer, Audio Production
Larry Halpern Executive Producer
Phil Kovacevich Design
Reed Ruddy Mixing, Engineer, Audio Engineer
Ross Nyberg Mastering
Sam Hofstedt Assistant Engineer
One of the enduring instrumental combinations for musical expression, whether jazz or classical, is the piano trio. The great jazz pianists from Teddy Wilson and Art Tatum through Bill Evans and Oscar Peterson to Brad Mehldau and Keith Jarrett have used this vehicle for their personal jazz expressions. With this offering, Seattle-based Dave Peck knocks on the door to be admitted to this exalted company. On the jazz scene as a performer, arranger, and composer for more than 25 years, Peck is no newcomer. His performing credentials include sideman assignments with such notables as Chet Baker, Sonny Stitt, Lee Konitz, and Art Farmer. He has worked with Bud Shank as arranger/composer since 1985. Peck's approach to the piano falls somewhere between Bill Evans and Oscar Peterson, with some Thelonious Monk influence on Peck's "If...Then...." Admittedly a wide gap, but plausible here. There's that wonderful thoughtful lyricism that characterizes Evans' work, but he adds a little more embellishment to his playing than the late master, nudging closer (not close) to Oscar Peterson. This respectable uniting of styles is apparent in a perceptive seven-and-a-half minute exploration of "Star Eyes," where every aspect of this popular 1943 classic standard is probed, pushed, pulled, and prodded by Peck and his cohorts. And his cohorts are critical to the success of this session. Dean Hodges' drums set the pace without ever becoming intrusive, staying with the traditional role of a drummer in a small group. Chuck Deardorf, on the other hand, gets ample opportunity to enliven the musical feast with his refreshing bass solos. He is especially telling on "If I Were a Bell" and on Monk's "Eronel." With a play list of jazz and classic standards, Brazilian rhythms, and originals by Peck, 3 and 1 is welcomed to the jazz piano trio literature with open arms. Recommended. [The unusual label moniker Let's Play Stella finds its derivation in a joke about the naming of Peck's dog, now dubbed Stella.] ~ Dave Nathan, All Music Guide
Dave Peck
Active Decades: '70s, '80s, '90s and '00s
Born: Aug 29, 1954 in Tacoma, WA
Genre: Jazz
Styles: Bop, Hard Bop
Dave Peck started moving towards jazz during his first year in high school with his first love, the trumpet. The defining moment which led to a jazz career came when, as a 14-year-old, he heard Miles Davis' recordings from the Blackhawk which belonged to his girlfriend's father. His determination to become a trumpet player was sidetracked by two events. The first was braces, the second a summer jazz camp where he met Marian McPartland. From then on he migrated to the piano. Peck's professional career began in 1970 with a gig at the local country club. Over the years he has performed with many first-rank jazz artists, including Chet Baker, Sonny Stitt, and Lee Konitz. He has had an especially fruitful relationship with Bud Shank, who recorded Tales of the Pilot, an album devoted entirely to Peck's compositions. Peck's writing skills have resulted in recognition by ASCAP and Meet the Composer. In 1998 Trio, his debut release as leader was voted Earshot Magazine's Jazz Northwest Recording of the Year. His 3 and 1 was in the Gavin Jazz Top Ten and again was voted Earshot Jazz Northwest Recording of the Year in 2000. Given the large number of good jazz performers residing in the Pacific Northwest, this award is a meaningful recognition of Peck's skills. Since then, Peck released two other albums as a leader. All of his releases as a leader were on the Let's Play Stella label, which belonged to him and his wife Jane Peck.
Peck's piano style reveals the influence of Bill Evans, Keith Jarrett, and Wynton Kelly whose ideas he has blended with a unique approach to the piano which can be heard to excellent advantage on his Solo album. His ability to improvise and play variations on the theme without disassociating from the music he's interpreting is truly illuminating and special.
In addition to performing and composing, Peck is Associate Professor of Music at Cornish College of the Arts where he teaches Jazz Ensemble, Composition, Repertoire, Improvisation and Piano. Two of his students are starting to make names for themselves. Guitarist Brad Chepik plays with Dave Douglas and sax player Brigan Kraus is making some waves in New York's Knitting Factor loft scene. When Peck has time he likes to listen to Jarrett, the classical composer Alexander Scriaban, and Italian operas.
---Dave Nathan, All Music Guide |
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